MASTER’S DEGREE IN MUSICOLOGY AND PERFORMING ARTS LM-45 – PIANO

Educational Objectives and Learning Outcomes

Educational Objectives: At the end of the second year of specialisation in piano, students are expected to have achieved professional-level technical and artistic mastery, with particular attention to the in-depth study of solo repertoire, narrative phrasing, and sound control: a rich touch, precise pedalling, and expressive dynamics. Particular focus is given to contemporary and historical repertoire, the refinement of orchestral excerpts, and advanced performance practices. Students develop independent interpretative skills, critical analysis of musical texts, and historical stylistic awareness. Great importance is attributed to technical and emotional control during public performance, personal research into expressive language, and the acquisition of advanced historical, aesthetic, and analytical preparation at Master’s level. Particular attention is dedicated to the development of a mature artistic profile and to the ability to approach repertoire with originality of interpretation; stage presence and reciprocal listening with the orchestra enhance expressive communication and emotional impact.

Professional Opportunities:

1. Professional Solo Concert Performer: The programme prepares pianists for careers as prominent solo performers within the national and international concert landscape, developing the technical and interpretative skills required to perform in prestigious concert series, music festivals, and major concert seasons. Students develop a personal and mature artistic language, create concert programmes of high cultural value, and manage performances according to international professional standards.
2. Instrumentalist in Prestigious Chamber Music Ensembles: Chamber music represents one of the highest levels of specialisation for the Master’s-level pianist. The programme provides students with the tools required to collaborate within prestigious chamber ensembles, developing advanced collaborative abilities, interpretative flexibility, and refined ensemble sensitivity.
3. Instrumentalist in Chamber and Symphony Orchestras: The pianist acquires the specific skills required to collaborate with leading orchestras at both national and international levels, with particular attention to sight-reading, musical leadership, and integration within the collective musical sound.
4. Instrumentalist in Orchestral Ensembles for Musical Theatre: The programme provides advanced preparation for professional activity in opera house and ballet pit orchestras, enabling students to approach specialised repertoire with stylistic versatility and professional expertise.
5. Music Teacher and Educator: The Master’s programme prepares pianists for teaching activities in conservatories, academies, and musical institutions, allowing them to transmit technical and artistic skills acquired at an excellent level.

Expected Learning Outcomes:

• Advanced technical and instrumental mastery: in-depth and conscious knowledge of piano performance techniques, with interpretative autonomy and the ability to creatively solve technical challenges;
• Specialised knowledge of repertoire: systematic study of solo repertoire from the Baroque period to contemporary music, with awareness of historical and stylistic performance practices;
• Independent interpretative skills: development of a recognisable artistic personality, with the ability to critically analyse musical texts and formulate conscious interpretative choices;
• Advanced chamber and orchestral skills: ability to interact with authority within different musical ensembles, developing musical leadership and collaborative sensitivity;
• Perceptive and analytical development: enhancement of critical listening skills, memorisation abilities, and structural analysis of repertoire;
• Advanced theoretical and analytical competences: acquisition of advanced knowledge relating to organisational, compositional, and analytical models of music and their interaction with historical performance practice;
• Professional technical and emotional control: mastery of specific techniques for managing posture, emotional control, and public performance at an excellent professional level;
• Advanced historical and aesthetic awareness: in-depth knowledge of the stylistic, historical, and aesthetic aspects of music, both from a general perspective and with specific reference to piano performance;
• Research and artistic project development skills: development of autonomy in repertoire research, concert programme design, and the creation of original artistic pathways.

This document is subject to updating by the Professor responsible for the course.

YEAR I	ECTS	Teaching Hours	Study Hours	SSD	TAF	Attendance	Delivery Method	Mandatory
ITALIAN LITERATURE	12	72	228	L-FIL-LET/10	CHARACTERISING	COMPULSORY	SYNCHRONOUS	YES
HISTORY OF MUSIC I	12	72	228	L-ART/07	CHARACTERISING	COMPULSORY	SYNCHRONOUS	YES
SOLO PIANO PERFORMANCE PRACTICE I / PERFORMING ARTS DISCIPLINES	12	24	276	L-ART/05	CHARACTERISING	COMPULSORY ATTENDANCE IN PERSON	INDIVIDUAL LESSONS	YES
PIANO REPERTOIRE PRACTICE WITH ORCHESTRA I / PERFORMING ARTS DISCIPLINES	12	18	282	L-ART/05	MUSIC AND PERFORMING ARTS	COMPULSORY ATTENDANCE IN PERSON	GROUP LESSONS	YES
ENSEMBLE MUSIC PERFORMANCE PRACTICE / PERFORMING ARTS DISCIPLINES	6	9	141	L-ART/05	MUSIC AND PERFORMING ARTS	COMPULSORY ATTENDANCE IN PERSON	GROUP LESSONS	YES
HISTORY AND ELEMENTS OF MUSICAL INSTRUMENTATION AND ORCHESTRATION	6	36	114	L-ART/07	MUSIC AND PERFORMING ARTS	COMPULSORY	SYNCHRONOUS	YES
TOTAL	60

 

YEAR II	ECTS	Teaching Hours	Study Hours	SSD	TAF	Attendance	Delivery Method	Mandatory
GERMAN LITERATURE	12	72	228	L-LIN/13	CHARACTERISING	COMPULSORY	SYNCHRONOUS	YES
HISTORY OF MUSIC II	12	72	228	L-ART/07	CHARACTERISING	COMPULSORY	SYNCHRONOUS	YES
SOLO PIANO PERFORMANCE PRACTICE II / PERFORMING ARTS DISCIPLINES	12	24	276	L-ART/05	CHARACTERISING	COMPULSORY ATTENDANCE IN PERSON	INDIVIDUAL LESSONS	YES
PIANO REPERTOIRE PRACTICE WITH ORCHESTRA II / PERFORMING ARTS DISCIPLINES	12	18	282	L-ART/05	MUSIC AND PERFORMING ARTS	COMPULSORY ATTENDANCE IN PERSON	GROUP LESSONS	YES
FINAL EXAMINATION	12		300		FINAL EXAMINATION			YES
TOTAL	60

Requirements of the Course Related to the Main Instrument

• Prerequisites: Passing the admission audition for the Master’s Degree programme LM-45 is required.
• Bachelor’s Degree in Performing Arts and Music Disciplines (L-3) or equivalent qualification;
• Demonstrated advanced technical and artistic skills.

Teaching Methods and Assessment

Teaching Methods: Individual one-to-one lessons.

Assessment Methods:

• Intermediate Examination (MAIN INSTRUMENT PERFORMANCE PRACTICE 1) at the end of the first year.

Main requirements: Performance of three pieces, to be agreed upon with the Professor, with a total duration of 35/40 minutes, including:

• • One short virtuoso piece;
  • The first movement of a sonata or concerto from the Classical period onwards;
  • A solo instrument piece (J. S. Bach).

• Master’s Degree Final Examination (MAIN INSTRUMENT PERFORMANCE PRACTICE 2) at the end of the second year.

Programme: A recital programme lasting approximately one hour, with compositions selected by the candidate in agreement with the Professor, representing at least three of the following repertoire areas*: a) Baroque b) Classical period c) Romantic period e) Historical 20th-century repertoire f) Modern repertoire (compositions after 1945) or Contemporary repertoire.

The performance must include:

• The first movement of a concerto;
• A virtuoso piece.

Notes: Reductions for two pianos of virtuoso works and concert pieces are permitted.

• Critical Presentation: A brief presentation (in the form of a written paper or oral dissertation) of the performed programme, including analytical, historical, and musicological considerations, as well as the aesthetic and motivational reasons underlying the repertoire choices. This presentation must be agreed upon, approved, and supervised by one of the Professors of the theoretical subjects.
• *Note on repertoire pieces: The concerto is included among the three compositions representing the selected repertoire periods and, depending on the specific work and subject to the authorisation of the Professor and the conductor, may also be considered as the virtuoso piece.

 

P